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HARPER, V. HERSCHEL. Visual Designs and Technical Production of William Gibson's A Crv of Players. (1977) Directed by: Dr. Herman Middleton. Pp. 9C
The purpose of this thesis is to present in three parts the visual
designs and technical production of William Gibson's A Cry of Players.
The thesis is divided into three parts: (1) Chapter I, the playwright,
the play, and the design approach, (2) Chapter II, the illustrated
production record, and (3) Chapter III, a post-production analysis.
Chapter I deals with the historical and stylistic considerations
influencing the design concept and a description of the design approach
to setting, costumes, properties, and lighting. Chapter II contains the
renderings, working drawings, photographs, and plots for sets, costumes,
properties, and lighting. Chapter III discusses the final production
and the weaknesses of each technical area as a part of the total visual
design.
VISUAL DESIGNS AND TECHNICAL PRODUCTION
OF WILLIAM GIBSON'S
A CRY OF PLAYERS
by
V. Herschel Harper
A Thesis Submitted to the Faculty of the Graduate School at
The University of North Carolina at Greensboro in Partial Fulfillment
of the Requirements for the Degree Master of Fine Arts
Greensboro 1977
Approved by
APPROVAL PAGE
This thesis has been approved by the following committee of the
Faculty of the Graduate School at the University of North Carolina at
Greensboro.
Thesis Adviser hLXrXAH^Jv^
Committee Members KMsu
,/ —i« JL 1(7/ — Date of Wcceptjlnce by Committee
ii
ACKNOWLEDGEMENTS
Grateful acknowledgement is made to Dr. Herman Middleton for his
encouragement and assistance in the preparation of this thesis, to Dr.
Andreas Nomikos for his supervision of the actual production, and to
Miss Kathryn England, Dr. David R. Batcheller, and Mr. P. Myers-Reid for
their support and cooperation.
iii
TABLE OF CONTENTS
Page
APPROVAL PAGE *1
ACKNOWLEDGEMENTS W
LIST OF TABLES v
LIST OF FIGURES vi
CHAPTER
I. THE PLAYWRIGHT, THE PLAY, AND THE DESIGN APPROACH 1
The Playwright and the Play | The Design Approach *
The Setting » The Properties ' The Costumes ° The Lighting '■?
Summary
II. THE TECHNICAL PRODUCTION 16
The Setting \* The Properties *■ The Costumes *5 The Lighting *d
III. CRITICAL EVALUATION 81
The Setting §? The Properties °j? The Costumes 52 The Lighting °' Conclusion
BIBLIOGRAPHY
TV
546786
Table
1
2
3
4
5
6
LIST OF TABLES
Pci ye
Properties Plot 34
Costume Plot 49
Instrument Schedule 56
Switchboard Set-Up 62
Replugging Plot 65
Lighting Plot 67
LIST OF FIGURES
Figure Pa9e
1 Floor Plan 19
2 Designer's Rendering 21
3 Scale Model 23
4 Working Drawings 25
5 Working Drawings 26
6 Working Drawings
7 Working Drawings
8 Working Drawings
9 Working Drawings
10 Worki ng Drawi ngs oo
11 Costume Renderings
39 12 Costume Renderings
40 13 Costume Renderings
41 14 Costume Renderings
42 15 Costume Renderi ngs
43 16 Costume Renderings
44 17 Costume Renderings
45 18 Costume Renderings
46 19 Costume Renderings 47
20 Costume Renderings 54
21 Lighting Plan
22 Poster Design
23 Production Photograph
vi
Figure
24
25
26
27
28
Page
Production Photograph 76
Production Photograph 77
Production Photograph 78
Production Photograph 79
Production Photograph 80
vn
CHAPTER I
THE PLAYWRIGHT, THE PLAY, AND
THE DESIGN APPROACH
CHAPTER I
The creative process may work differently for each stage designer,
but one must always begin with the play. The most lasting impression
of a play is its atmosphere, and in order that the designer reach a
state of oneness with this abstraction of mood, of mystery, and to taste
and analyze its overtones, undercurrents, and all the other ingredients
which contribute to the unique flavor of the play, both designer and
script must go through a long state of man nation before arriving at a
unified production concept.2 The designs for A Cry of Players are
heavily steeped in the script, therefore the production concept is
largely based on information and suggestions given by the playwright,
and a gestation period which began upon first reading the play two years
before the production.
THE PLAYWRIGHT AND THE PLAY
William Gibson wrote A Cry of Players sometime in the early nine-
teen forties, for it was copyrighted in 1946, but it was not produced
until 1968 by the Berkshire Theatre Festival, Stockbridge, Massachusetts.'
Research material is much more abundant for the better-known Gibson play,
1 Irene Corey, The Mask of Reality (Anchorage, Kentucky: The Anchorage Press, 1968), p. 13.
2Ibid., p. 3.
3William Gibson, A Cry of Players (New York: Dramatists Play Service, 1968), p. iv.
fe
The Miracle Worker, than for A Cry of Players. Therefore, the designer
will rely more upon the script and the ideas extracted from it than from
any previous productions or critiques of the play.
The play hypothetically deals with the domestic and social problems
of William Shakespeare before he went to London and began his work in the
theatre as an actor/playwright. He is depicted as a confused and unhappy
youth dissatisfied with himself, his marriage to Anne, and everyone in
this "obscure town in England."4 There is a void in his existence, and
he is blindly searching for the means to fill this void. In the prelude
to Act One, Gibson wrote: "I would there were no age between sixteen and
three-and-twenty, or that youth would sleep out the rest, for there is
nothing in the between but getting wenches with child, wronging the
ancientry, stealing, fighting."5 This is the turmoil, the conflict
within Will which he externalizes by conflicting with others around him.
His rebellion against authority, his inability to accept responsibilities,
his negative opinions of the town and its people are all manifestations
of a troubled search for himself and his worth as a man.
The panacea arrives with William Kemp and his traveling players,
and which is, at first, only temporary. But as the void fills, it then
gradually becomes permanent in the life of Will. The part missing, the
half of his life unrealized, is the magic of the theatre.
As previously stated, the most lasting impression of a play is
its atmosphere. To visualize the abstractions which form the atmosphere,
4 Ibid., p. ix.
5Ibid., p. 1.
one must respond to mood, to feelings, and to the magic of the process
which is dreaming in reverse. It is from this point of departure that
this designer is led to visualize the total design concept of A Cry of
Players.
The Design Approach
Gibson gives this production note:
The Stage is almost bare, except for some arrangement of a rear platform which serves variously; a single decor piece—a tree, a stocks, a casement window, a banister—helps identify each locale, and may remain simultaneously in sight here and there, or not. The look and sound of the play must not be stage—Elizabethan. The people in it have not yet discovered the fork, they live in filth, and wear rags not unlike those of, say, Appalachia; their songs are crossed by the rhythms of our time.6
This production note, linked with the observation of the imbalance
in Will's life and the overall gesture of the play, led the designer to
the general concept of production. By carefully selecting and incorpo-
rating the elements of design such as color, line, weight, balance, and
mass, a synthesis of realism, constructivism, and theatricalism has been
employed. This synthesis of styles yielded the following framework for
the designs which will now be explained.
A unit platform stage assymetrically balanced and raked, extends
eighteen feet in front of the proscenium. All scenes will be played on
the simultaneous staging, and areas are isolated with lighting to suggest
different locales. Costumes and properties will retain certain elements
of the 1580's in England, but are to be simplified from the realistic
for the sake of compatibility with the set and lighting.
'ibid., p. vii.
Setting
A Cry of Players is structured in three acts, with four scenes in
Act I, three scenes in Act II, and two scenes in Act III. Scenes
alternate between boisterous ensembles (cast of thirty) and close
intimate scenes with two or three persons. The designer feels that the
distance between audience and stage in Aycock Auditorium is too great
for the intimate scenes, so an extended stage was decided upon. Because
of sight lines in Aycock, crowd scenes are seldom visually effective
without playing areas on levels other than the stage floor. The extended
platform stage should also be multilevel as well as raked. After experi-
menting with various inclines, the designer chose not to exceed a rise
of more than two inches per foot, or nine degrees, twenty-eight minutes.
This should comfortably accomodate all the necessary action of the play,
and not be distracting for any of the actors to work on for prolonged
scenes.
In conferring with the director, it was agreed that there was a
need for the visual suggestion of a road leading into the town. In Act
I, scene ii, the traveling players enter to the town square in grand
fashion, penetrating the isolation of Will and the townspeople with the
excitement of plays and faraway London. The road again becomes signifi-
cant in the final scene of Act III. The players have been asked to leave
town, and Will leaves with them. This concept of a road, together with
the idea that Will's life was incomplete and disconnected, gave birth to
a circular arrangement of platforms which never completely form a circle.
The ring, or a closed circle, is a symbol of continuity and wholeness.
K
It is also a symbol of marriage and unity. By never allowing the circle
to connect, the designer has attempted to visually communicate an impor-
tant thesis of the play: Will's feeling of not being complete as a man.
This circular arrangement of platforms in the form of a ramp, is to
suspend from the light bridge off right to the left proscenium wall, and
be supported by two laminated beams curved and glued in the circular
shape, the beams being built up of three layers of 1" x 6" yellow pine.
This is known as a compressed fixed beam, and is found to be four times o
as resistant to buckling as a simply supported beam. Two factors are
considered in selecting this type of support: the ramp-like structure
must span a distance of over forty feet and support up to six actors.
The area underneath the actual platform must be open so that a visual
spaciousness is achieved.
To give a sense of weight to this mass of staging, it was decided
that the platforms be decked with 2" x 8" lumber stained slightly darker
than the natural finish. This is also in keeping with the earthiness of
the play. By spacing the 2 x 8's 3/4" apart, the period element of the 0
sixteenth century platform stage is revealed.
Set pieces, flying units, and wagons provide suggestions for
different locales. A cutout tree, to be flown, suggests a forest for
7J. E. Cirlot, A Dictionary of Symbols (New York: Philosophical Library, 1962), p. 677
8Mario Salvadori, Structure in Architecture (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1963), p. 156.
9E. J. Burton, The British Theatre: Its Repertory and Practice, 1100-1900 (London: Herbert Jenkins, 1960), p. 112.
fe
Act I, i, and Act II, ii. A simple banister railing (carried on and set
in place) locates Will's home. Action in the tavern scene (Act I, iv)
requires a functional casement window with an upstage ledge large enough
to accomodate an actor, hiding from the audience. This window unit is
to be a wagon, stored off right. This scene will also have a flown
ceiling piece of large open beams constructed of styrofoam. The Guild
Hall (Act III, i) will also have a flown ceiling piece of beamwork
similarly constructed, and an open wall unit of beams to be carried on
and set into pockets in the platform. Stocks will be placed up-center,
and remain throughout the play. A whipping post used in Act II, iii,
hinges behind a platform out of sight for all other scenes.
Properties
This aspect of the designer's concept adheres more closely to
realism than either the setting or the costumes. The designer feels that
in this production an audience will accept a greater degree of theatrical -
ism in costuming, setting, and lighting, than in properties and furniture.
Furniture is the trestle style of the period, built of two-inch lumber,
and cut to the platform rake. Because of the rake, all furniture must be
precisely placed on stage, and therefore will be carried on and off by
the actors. Properties such as a crossbow and the stocks are only slight
variations of the actual. Torches and candles will be realistic, since
there is an earthy, primitive quality suggested by the use of fire. All
other properties will be constructed with the intention of conveying
realism in appearance and function.
Costumes
There is a degree of duality in the costume designs. The towns-
people represent working class people unschooled and untraveled. The
players have come from London and are attached to a peer, the Earl of
Leicester. With the ragged, unkempt and dirty townspeople in opposition
to the finery of the players, a definite contrast is achieved.
It is partly the glitter and glamour of the players that attracts
Will to the theatre; early Renaissance theatre companies were known to
spend large sums of money on clothes and costumes. For these reasons
the players' costumes are more elaborate and closer to being historically
accurate than those of the townspeople. Brilliant and varied, brocades,
satin, velour, and velvet are to be used by the players.
Earth colors form the basic scheme for the townspeople's costumes.
The textures of corduroy, muslin, wool, and leather also help to convey
the earthiness of the people and their work.
In the ensemble scenes, costumes can easily dominate, overwhelming
the faces and the scenery.10 For this reason there will be a degree of
sameness in both line and color of the townspeople's costumes. Exceptions
will be made in the costumes of major characters.
Costume changes are kept to a minimum, and in each case are called
for specifically by the action of the play.
Will's costume should suggest a neater appearance than the other
townspeople. Three shirts are needed; two identical so that one is
ripped and bloody from the whipping. These two are to be gold antique
10Jean Rosenthal, The Magic of Light (Boston: Little, Brown and Co., 1972), p. 82.
silk, full-sleeved, and the third is of bleached muslin. A long vest of
tan corduroy with a brown leather belt, knee-length trousers of olive
velvet, and dark brown suede boots to the knee complete the basic costume.
Two knee-length aprons of vinyl (imitation leather), one clean and one
dirty from butchering, are needed in the action of the play.
The most primitive character is Fulk, a one-armed scoundrel,
poacher, and part-time companion of Will's. His appearance should suggest
filth and degradation. A thermal cotton undershirt, streaked with paint
and soiled, and an overshirt of unbleached muslin dyed and painted;
trousers of muslin with a rope belt, and boots made of wrapped muslin are
all torn and tattered to give a ragged, smelly appearance.
Meg is the female counterpart of Fulk. Her shirt is to be of green
and rust, lightweight upholstery fabric with a low neckline closed with
leather lacing. A skirt of tie-dyed gold corduroy must be ripped off in
the action of the play, hence it will be held on by using velcro strips.
Shoes will be of dark brown canvas. Both shoes and skirt are to be
pulled from stock. Her overall appearance is that of an ignorant slut.
Richards, in the service of Sir Thomas, is a hulk of a man. His
job is to catch poachers or whatever else he may be instructed to do,
since he does little thinking for himself. He is to have an undershirt
of thermal cotton dyed black, an overtunic of brown vinyl slashed at the
sleeves and laced at the sides, trousers of rust muslin, and brown suede
boots.
The only child in the play is Susanna. She is to wear a high-neck,
long-sleeved dress of blue-grey cotton, a short vest of teal velour, and
grey canvas shoes.
10
Two complete costumes are needed for Anne. One is to consist of a
long-sleeved shirt of mustard cotton, a skirt of dark yellow wool, and
an apron of green muslin. The other is a shirt of orange-brown muslin,
a skirt of brown wool, and an apron of unbleached muslin. Additional
costume pieces are to be a jacket of yellow-green corduroy, a short cape
of rust burlap, and olive canvas shoes. The brown wool skirt is to be
constructed for partial tear-away, necessary in the action of the tavern
scene.
Berry is something on the order of a town constable who tends
toward brute force for keeping the peace. His costume consists of a
blue-grey velour jacket, a grey vest with suedecloth belt, tan suede
boots, and an undershirt of thermal cotton dyed dark green.
Sandells will wear a crepe, full-sleeved shirt pulled from stock
and dyed dark brown, a long vest of gold and orange striped corduroy,
trimmed in brown vinyl, orange and brown brushed corduroy trousers, tan
tights, and brown vinyl shoes.
One of the few educated townspeople is Roche, the schoolmaster.
He is to wear an undertunic of black velour, a long vest of tan burlap
(pulled from stock), dark grey tights, and black canvas shoes.
Jenny must have two identical skirts, for one is torn away in the
tavern scene with Anne. These are to be of tan and blue wool. The
shirt is actually a vest, the bodice of which is blue-green tapestry
fabric with blue cotton sleeves laced in with leather at the shoulders.
The front of the shirt is laced, since at one point in the play she must
be "hanging out." Dark brown canvas shoes and an unbleached muslin
apron complete her costume.
11
Jenny's father, Hodges, is the tavern owner. He is to wear a dark
green velour, mid-thigh coat with cuffs and collar of brown vinyl, a
macrame belt, brown tights, dark brown canvas shoes, and a green muslin,
mid-thigh apron.
Old John is Will's father, and an established and respected member
of the town. He is to wear black tights, an otter long coat, black
canvas shoes, and a long maroon cape.
Will's brother, Gilbert, is more brawn than brains, but a hard and
willing worker. His unspoken dedication to providing for his father,
and Anne and the children, suggest an underlying gentleness. His costume
is to bespeak his work at the tanyard. A brown vinyl tabard is to be
laced at the sides, with a wide black belt at the waist. Trousers are
to be of blue-green upholstery fabric, brown vinyl boots, and a long
apron of heavy muslin, painted as if soiled with blood.
An almost clown-like quality in the character of Kemp led the
designer to choose a full-sleeved shirt of red, yellow, and green
paisley with a modified clown collar and flared, gathered cuffs, a
sleeveless coat of red paisley, slashed to reveal the shirt underneath,
green velvet trousers, a yellow velour cape lined in yellow satin,
yellow tights with red satin garters, and emerald canvas shoes.
Ned, the leader of the troupe of players, would probably have first
choice of the finest costumes available. He is to have a black satin
shirt, a vest and trousers of tie-dyed crushed velvet trimmed in purple
satin, a purple and metallic gold cape lined with purple satin, purple
tights with satin garters, and black canvas shoes with slashing at the
instep.
12
Hetning is to have a gold antique satin shirt, trousers of deep red
and gold corduroy with gold satin inserts, gold tights, gold satin cross
garters, a deep red velour cape with gold satin lining, and deep red
canvas shoes slashed at the instep.
The youngest of the players is Arthur. His costume is to consist
of a white satin shirt, trousers of blue and gold drapery fabric, white
tights, a short blue velour cape lined with gold satin, and blue canvas
shoes.
Pope is the least prominent of the players, so his costume is to be
less colorful. He is to have a shirt of light tan crepe, brown velour
trousers, a dark blue corduroy cape lined in copper satin, beige tights,
and brown canvas shoes.
Sir Thomas is the authority in the town, and thus his costume
should show that authority. He is to have a shirt of white antique satin
with flared and ruffled wrists and collar, a coat of black velvet,
slashed to show the shirt beneath, black velvet trousers, white tights
with white satin cross garters, black canvas shoes above the ankle, and
slashed, one cape of maroon and purple tie-dyed crushed velvet lined with
maroon satin, and with a stand-up collar, and a second cape of black
velour lined with black satin, and a period hat of black velvet with
maroon velvet inserts.
The townspeople are to be costumed in heavy fabrics using browns,
rusts, greens, and earth colors which really should melt into a mass of
drabness in the crowd scenes. The designs follow those of the above
described characters in the town, with various costume pieces being
pulled from stock.
13
Lighting
In order to enhance the style of the production and unify the total
design concept, lighting is to be designed within these boundaries:
Boundary One is the degree of reality the director wishes to suggest.
Boundary Two is the placement of scenes within the set. And Boundary
Three is the restrictions under which the performances will take place.
This designer does not wish to attempt any great degree of
realistic lighting within the design concept of this production. It is,
however, possible to suggest reality by the use of motivational light
sources which influence the form (instrument placement and pattern of
light), the color (mood achieved by gels and/or intensity), and the
movement (dynamics of change in form and color). The designer feels
that the degree of realism in lighting accepted by an audience is
influenced by the degree of realism in the setting, costumes, properties,
and acting style. It is, therefore, intended that the audience accept
the theatrical style and method of lighting as a convention used in
theatre to suggest realism, and that this purpose be achieved without 12
obtruding, and without adding a demand for the audiences' attention.
Placement of scenes within the set exerts a direct control upon
the placement of lighting instruments, as does the placement of the set
relative to the stage, audience, and lighting facilities. The most
difficult obstacle to overcome is the changing from crowd scenes in
which the entire set must be lighted, to smaller scenes with two actors
working in a small area of the set, and to light a set thirty feet deep,
"ibid., p. 75.
12Ibid., p. 62.
14
forty feet wide, and eighteen feet in height, with playing areas spanning
the full height of the set. The extended stage requires that instruments
be placed farther away, and in order to be at the proper angle from the
extended area, be placed in the gallery openings on either side of the
balcony. Instruments are also to be placed on the balcony railing, and
in boxes on each side of the balcony. Two light towers sixteen feet in
height are placed in the side aisles twenty feet in front of the
proscenium, and two towers twenty feet in height are placed just behind
the proscenium arch to be used for side-lighting. Since over half the
set extends in front of the proscenium, the first pipe can be used only
for back-lighting and side-lighting.
The greatest restrictions on the lighting design stem from the
limited number of circuits and instruments available in Aycock, and an
antiquated control system. This will require excessive replugging,
repatching, and gel changes, and the necessity for crew members both
numerous and competent.
The McCandless system of two lights per area is used as a precept,
with variations in placement and angle employed for motivational light
sources in Act I, iv, Act II, i, and Act III, i, and to intentionally
create shadows in Act I, i, Act I, iii, and Act II, ii.
Summary
The purpose of this part has been to show the designer's concept of
the production, and the historical and stylistic considerations (largely
influenced by the script) which led to the total design vision.
Through the synthesis of realism, constructivism, and theatrical ism,
the designer hopes to create a visual statement which both compliments
15
and heightens the inherent atmosphere of A Cry of Players and of the
characters therein.
It is intended that the degree of selectivity employed in drawing
from the various styles will 'gestalt' the production into a strongly
unified and visually dramatic experience.
16
CHAPTER II
THE TECHNICAL PRODUCTION
17
THE SETTING
*
18
FLOOR PLAN
19
20
DESIGNER'S RENDERING
21
Figure 2
22
SCALE MODEL
23
WORKING DRAWINGS
24
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32
THE PROPERTIES
33
PROPERTIES PLOT
TABLE 1
34
PROPERTIES PLOT
Scene Property — Location
I, i wine jug — SL fish on pole — SL longbow — SR
Actor
Fulk Meg Richards
I, ii washbasket with preset sock — SR Anne assorted baskets, bread loaves, and buckets —
in dressing rooms Townspeople drum -- dressing room Kemp trunk, assorted bundles -- dressing room Players paper document in costume Ned staff -- in dressing room Sir Thomas apple — SL Will two books -- SL Roche coins — in costume pocket Fulk
I, iii stuffed fur for dead animal -- preset on stage knife -- on costume belt Richards
I, iv table in tavern -- preset serving tray — SR candles — SR two stools — SR loose papers -- SR sock from scene ii stool -- SR two beer tankards — SR stool — SR stool — SR trayful of beer tankards (5) - - SR
II, i bannister, table, benches, plates, cloth for darning, chamberpot — preset
diapers -- SR candle — SR candle — SR letter — SL mug of beer — SR tray of dishes -- SR flowers, loose papers -- SL mug of flowers — SR
Jenny Hodges Kemp Kemp Will Heming Hodges Arthur Ned Hodges
Anne Anne Old John Roche Gilbert Anne Will Gilbert
TABLE 1 -- Continued
35
Property -- Location
three crossbows -- SL
Actor
Fulk Meg Kemp
II, iii stocks, whipping post -- preset candy stick — dressing room sack, stuffed bulky — SL small table, banners -- SL letter in costume pocket charcoal stick in costume pocket whip -- in dressing room ripe tomato -- SR
Susanna Anne Kemp, Pope Sir Thomas Will Berry Townsperson
III, i benches, table, stool, candle -- preset torch — SL clean rags, bucket -- SL sack from II, iii — SL papers, matches in costume
III, ii sack from II, iii bundles, trunk, drum from I, ii papers in costume pocket baskets, bundles, bread!oaves from I, ii
Berry Berry Meg Sir Thomas
Will Players Will Townspeople
36
THE COSTUMES
37
COSTUME RENDERINGS
38
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COSTUME PLOT
Will
Fulk
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49
TABLE 2
COSTUME PLOT
gola shirt tan vest with brown leather belt olive trousers brown suede boots white muslin shirt for III, i
thermal undershirt muslin overshirt muslin trousers with rope belt muslin wrapped boots
green and rust shirt with laced bodice gold skirt brown canvas shoes
Richards
black thermal undershirt brown vinyl overtunic rust muslin trousers brown suede boots
Susanna
Anne
blue grey cotton dress teal velour vest grey canvas shoes white muslin nightgown for II, 1
orange rust dress with laced bodice gold muslin apron rust burlap cape for I, IV olive canvas shoes
Be <_i
blue-grey velour jacket grey vest with suedecloth belt tan suede boots dark green thermal undershirt
50
TABLE 2 — Continued
Sand ells
dark brown crepe shirt gold and orange long vest orange and brown corduroy trousers tan tights brown vinyl shoes
Roche
black velour undertunic tan burlap vest grey tights black canvas shoes
Jenny
tan and blue wool skirt blue-green tapestry shirt with laced sleeves dark brown canvas shoes unbleached muslin apron for I, iv
Hodges.
dark green velour coat with vinyl cuffs and collar macrame belt brown tights dark brown canvas shoes green muslin apron for I, iv
Gilbert
Keino
brown vinyl tabard with black belt blue-green trousers brown vinyl boots heavy muslin apron for II, i
red, yellow, green paisley shirt green velvet coat and trousers and III. 1 yellow velour cape for all except II. 11. and ill,
Ned
yellow tights with red garters emerald canvas shoes
black satin shirt tmusers tie-dyed crushed velvet vest and trousers purple cape
51
TABLE 2 — Continued
Ned — Continued
purple tights with black garters black canvas shoes black cape for I, iv
Heming
gold shirt red and qold trousers gold tights with gold garters red velour cape red canvas shoes gold cape for I, iv
Arthur
Pope
white satin shirt blue and gold trousers white tights blue canvas shoes blue velour cape
light tan crepe shirt brown velour trousers dark blue cape beige tights brown canvas shoes
Sir Thomas
white antique satin shirt black velvet coat and trousers white tights with white garters black canvas shoes
So7tX^e SWIll other scenes except .... 1
Townspeople
various costumes of heavy fabrics in earth colors -- no changes
52
THE LIGHTING
53
LIGHTING PLAN
171
55
INSTRUMENT SCHEDULE
TABLE 3
56
INSTRUMENT SCHEDULE
*k INSTRUMENT WATTAGE FUNCTION COLOR CIRCUIT
1 8" ERS 1000 A-9 805 78
2 8" ERS 1000 A-10 805 76
3 8" ERS 1000 A-11 805 76
4 8" ERS 1000 A-14 805 74
5 8" ERS 1000 A-15 805 74
6 8" ERS 1000 A-16 805 72
7 8" ERS 1000 A-9 553 77
8 8" ERS 1000 A-10 553 77
9 8" ERS 1000 A-14 553 75
10 8" ERS 1000 A-13 553 75
11 8" ERS 1000 A-15 553 73
12 8" ERS 1000 A-16 553 73
13 6" ERS 750 A-l 811 60
14 6" ERS 750 A-2 811 60
15 6" ERS 750 A-20 811 62
16 6" ERS 750 A-21 811 62
17 8" ERS 1000 A-6 811 64
18 6" ERS 750 A-l NG 60
19 6" ERS 750 A-6 811 64
20 8" ERS 1000 A-11 NG 68
21 10" B. Proj. 1000 A-10 834 68
22 6" ERS 750 A-3 811 69
23 6" ERS 750 A-2 552 69
57
TABLE 3 — Continued
Nih INSTRUMENT WATTAGE FUNCTION COLOR CIRCUIT
24 6" ERS 750 A-4 540 69
25 8" ERS 1000 A-10 NG 68
26 6" ERS 750 A-7 811 70
27 6" ERS 750 A-12 811 70
28 6" ERS 750 A-l 547 60
29 6" ERS 750 A-17 540 70
30 8" ERS 1000 A-9 540 61
31 6" ERS 750 A-18 540 69
32 6" ERS 750 A-3 811 69
33 8" ERS 1000 A-5 547 61
34 6" ERS 750 A-5 540 63
35 6" ERS 750 A-2 540 63
36 6" ERS 750 A-19 540 63
37 10" B. Proj. 1000 A-14 760 65
38 10" B. Proj. 1000 A-15 842 65
39 8" ERS 1000 A-3 545 69
40 8" ERS 1000 A-9 NG 64
41 8" ERS 1000 A-4 805 66
42 8" ERS 1000 A-8 805 66
43 8" ERS 1000 A-l 3 NG 10
44 8" ERS 1000 A-16 849 67
45 8" ERS 1000 A-12 849 67
46 8" ERS 1000 A-7 849 67
47 8" ERS 1000 A-ll 849 11
58
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
INSTRUMENT
6" ERS
6" ERS
6" ERS
6" ERS
6" ERS
6" ERS
8" Fresnel
8" Fresnel
8" Fresnel
45s" ERS
4V' ERS
4I5" ERS
6" ERS
6" ERS
6" ERS
6" ERS
6" ERS
6" ERS
6" ERS
4%" ERS
6" ERS
6" ERS
44" ERS
4V ERS
TABLE 3 - Continued
WATTAGE FUNCTION COLOR CIRCUIT
500 A-4 859 10
500 A-5 804 18
500 A-13 804 14
500 A-14 804 14
500 A-18 804 12
500 A-19 804 12
1000 A-4 NG 16
1000 A-8 NG 16
1000 A-9 NG 16
300 A-10 804 20
300 A-ll 804 20
300 A-12 553 15
500 A-21 849 13
500 A-20 849 13
500 A-16 858 25
500 A-15 849 23
500 A-7 858 23
500 A-12 859 23
500 A-6 849 25
300 A-5 854 1
500 A-14 849 3
500 A-9 849 4
300 A-5 849 2
300 A-ll 859 11
59
TABLE 3 — Continued
NCL INSTRUMENT WATTAGE FUNCTION COLOR CIRCUIT
72 6" ERS 500 A-16 859 19
73 6" Fresnel 500 A-13 810 44
74 6" Fresnel 500 A-20 805 40
75 6" Fresnel 500 A-19 805 40
76 6" Fresnel 500 A-18 805 38
77 6" Fresnel 500 A-17 805 38
78 6" Fresnel 500 A-16 869 39
79 6" Fresnel 500 A-21 842 37
80 6" Fresnel 500 A-20 842 37
81 6" Fresnel 500 A-19 842 37
32 6" Fresnel 500 A-18 842 36
83 6" Fresnel 500 A-17 842 36
84 6" Fresnel 500 A-13 859 32
85 6" Fresnel 500 A-14 850 31
86 6" Fresnel 500 A-16 516 35
87 6" ERS 500 A-6 855 30
88 6" Fresnel 500 A-10 855 33
89 6" ERS 500 A-15 855 41
90 8" Fresnel 1000 A-n 855 43
91 8" Fresnel 1000 A-12 516 45
92 10" B. Proj. 1000 Ramp 810 18
93 6" ERS 500 A-13 861 20
94 4V ERS 300 A-13 810 22
95 6" Fresnel 500 A-16 543 17
60
NCL_ INSTRUMENT
96 Flood
97 Flood
98 Flood
99 Flood
100 Flood
101 Strip
102 Strip
103 Strip
104 Strip
TABLE 3 -- Continued
WATTAGE FUNCTION COLOR CIRCUIT
500 Cyc. 855 24
500 Cyc. 855 24
500 Cyc. 855 24
500 Cyc. 855 24
500 Cyc. 855 24
150 Cyc. Amber 26
150 Cyc. Red 27
150 Cyc. Blue 28
150 Cyc. Green 29
61
SWITCHBOARD SET-UP
TABLE 4
SWITCHBOARD SET-UP
DIMMER PRESHOW hi Ml 1,111 I.lv II, 1 II, ii 11,111 IHt1 111,11
A-l 26 26 26 26 26 26 26 26 26,28 26,28
A-2 27 27 27 11 11 11 27 27 11,27 11,27
A-ll 45 45 10,12,14 12 12 12 12 10,12,14 10,12,14 10,12,14
A-l 3 17 17 13,23 41 41 41 41 23 23 23
A-21 35 35 36 43 43 43 43 36 36 36
A-22 25 25 37,21 14 14 14 14 37,21 37 37
A-23 1,2,3,4, 11,19 19 40 15 15 15 11,15 38,40 38,40 38,40
B-l 71 71 71 71 71 71 71 71 71 71
B-2 60 60 60 3,31 31 31 31 60 60 60
B-ll 78 78 78 78 78 78 78 78 78 78
B-12 76 76 76 76 76 76 76 76 76 76
B-13 74 74 74 74 74 74 74 74 74 74
B-21 72 72 72 72 72 72 72 72 72 72
B-22 77 77 77 77 77 77 77 77 77 77
ro
TABLE 4 -- Continued
DIMMER PRESHOW hi 1.11 1,111 I.iv II,i II, ii 11,111 111,1 111,11
B-23 75 75 75 75 75 63 68 68 68 68
C-l 56,R4, B4,W4
56,R4, B4.W4
56,R4, B4.W4
56.R4, B4.W4
56,R4, B4.W4
56,R4, B4.W4
56.R4, B4.W4
56,R4, B4,W4
56,R4, B4,W4
56,R4, B4,W4
C-ll 73 73 73 10 10 10 10 73 73 73
C-21 20 20 20 21 21 21 20 20 21 21
C-22 66 66 . 66 66 66 66 66 66 66 66
C-23 62 62 62 62 62 62 62 62 62 62
D-l 61 61 22 22 24 61 61 61 61 22
D-2 63 63 63 32,44 32,44 63 63 63 63 63
D-ll 65 65 65 65 65 65 65 65 65 65
D-12 67 67 67 67 67 67 67 67 67 67
D-13 68 68 68 1,3,4 4 2 2 2 68 68
D-21 69 69 69 69 69 69 69 69 69 69
D-22 70 70 70 70 70 70 70 70 70,18 70,18
D-23 39 39 16,18 16,18 16 16 16 16,18 16 16
at
64
REPLUGGING PLOT
TABLE 5
65
Act, Scene
Cue
1,1
11,1 ) )
11,11 )
REPLUGGING PLOT
Instruments
Unplug Plug
1,11
Blackout 25 20
I,iii 40,17 43
Blackout
I.iv
Intermission 20,43,44,45,46 18,33,40,17
18 20,25
II, 11
11,111 ) 20,33 44,45,46
37,38 into 34
Intermission
III,; ) )
111,11 ) Blackout
37,38
20,21 into 25 47 into 34
66
LIGHTING PLOT
CUE NO. SCENE PAGE
Preshow
1,1
1,11
11
12
12
TABLE 6
LIGHTING PLOT
DESCRIPTION ACTION
one hour before performance
House, A23 10 3
from stage manager House 0
when house at 6 A23 0
from stage manager
"I'll see ye i n the stocks yet."
from stage manager
23 actor exit SR
1,111 24 on howl
25 "Who'd they piss on, you?"
COUNT
A1, All, A13, A21_, A22, A23, CJ_, 023 10 5 7 7 10 5 8 5
AT. All, A13, A21, A22, A23, Cl, D23 0
A Bank, B Bank, (H, Cll, C21_, C22, C23, 10 10 5 10 10 "TO "TO
D Bank 10
All Banks 0
Al, A2, A21, C]_, D21 ~6 ~4~ 4 10 10
Al, A2, A21, Cl, D21 0
4
5
4
4
5
3
CUE NO.
9
10
11
12
13
14
15
16
17
18
SCENE PAGE
25 I.iv
26
26
36
36
36
Inter.
11,1 39
TABLE 6 -- Continued
ACTION
Dl ~5
DESCRIPTION
with singing
as torch enters
as candle lit
as torch exits (Arthur)
as Will blows out candle
1... arrests the organ of my voice."
from stage manager
from stage manager
after 5-second hold
as Anne enters with candle
B2, Cll, D2, M3, D22, D23 -57 4 4 ~T~ 4
B2, Cll, D2, D13, D22, D23 ~9 ~T0 5 7 8 8
B2, Cll, D2, D13, D22, D23 "444333
B2, Cll, D2, D13, D22, D23 0
Dl "0
House 10
House 7
House 0
A13, Bl. BIT, B22, C23 T" 5 5
Dll, D12, D21, D23 5
COUNT
5
5
3
3
3
5
S
TABLE 6 - - Continued
CUE NO. SCENE PAGE DESCRIPTION ACTION COUNT
19 39 as Anne to table D13 4
3
20 39 as Old John enters with candle
Bl, Bll, B22, C23, Dll, D12, D21, D23 10 10 10
5
21 42 as Old John exits with candle
Bl, Bll, B22, C23, Dll, D12, D13, 5 5 5 5
D21, D23 5
5
22 51
51
as Will blows candle out
"Here"
Bl. Bll, B22, C23, Dll, D12, D13, D21, D23 3
23
0
A13 0
3
24 II, ii 51 from stage manager Al, A2, A23, Cl, C21, D12, D21 10 4 10 10 7
5
25 55 as exit Al, A2, A23, Cl, C21, D12, D21 0
5
26 II,iii 55 from stage manager A Bank. B Bank. Cl, Cll, C21, C22, C23, 10 10 5 10
D Bank 10
, 5
27 68 as whipping starts All Banks 3
CUE NO. SCENE PAGE
28
29
30
31
32
33
34
35
Inter.
111,1 71
71
75
80
81
36 81
37 111,11 82
DESCRIPTION
from stage manager
TABLE 6 -- Continued
ACTION
House
from stage manager
after 5-second hold
from stage manager
as Sir Thomas enters with candle
10
House 7
House 0
A2 7
B2, B11, B22, Dl_, D23 8 3 8
as Richards enters with torch Al, B2, Bll, B22, Dl_, D22, D23 5 10 6 8 HO
as Richards exits SR
as Sir Thomas exits SL
"... it is my prayer."
from stage manager
Al_, B2, Bll, B22, Dl_, D22, D23 0 6 3 0
B2, Bll, B22, DJ_ 0 0
COUNT
5
10
8
8
8
A2 5 0
Al, A2. All. A13. A21, A22, A23, B Bank, 5 "7 5 4
C Bank, PI. D2, Dll, P12, D13, D21, D22, D23 ~~5 4 7 4
o
TABLE 6 -
CUE NO. SCENE PAbt
38
39
40
41
42
Bows
85
85
DESCRIPTION
"... God forgive me."
follow cue no. 38
from stage manager
from stage manager
from stage manager (when stage clears)
- Continued
ACTION
A Bank, B 0
Bank 0
, c Bank, 0
01, 2
02, Dll, 1 )12, D13 , 022, D23 0
01. D21 0
All Banks 10
All Banks 0
House
COUNT
10
3
3
TO
72
POSTER DESIGN
r 73
Figure 22
74
PRODUCTION PHOTOGRAPHS
75
Figure 23
76
77
78
ai E 3 en
79
CvJ
<u
80
CO
en U-
81
CHAPTER III
CRITICAL EVALUATION
82
CHAPTER III
CRITICAL EVALUATION
In approaching a post-production analysis, the designer must step
away from ideas which at first seemed to be the best for creating a
visually unified production, carefully examine those ideas, and
critically determine the success or failure of each element of the
designs individually, and as a whole.
The feeling of this designer toward the final overall design for
A Cry of Players was a positive one. Through many productive discussions
with the director, actors, playgoers, and committee members, the mistakes
and achievements of the designer have been pointed out. These consulta-
tions, together with an objective retrospect of the production, have led
to a scrutinizing evaluation in the areas of setting, costumes,
properties, and lighting, and revealed the merits and failures of each
of these areas under the actual conditions of the production.
Setting
Even before opening night, it became apparent that the setting was
not only a visual success, but also the object of plaudits coming from
several different sources. The actors found it a challenging and
exciting place to work, in that it seemed to capture the essence of the
script, which aided them in characterization and movement. Many of the
actors acclaimed it as "one of the best and most unique sets in memory
at UNC-G." Structural engineers from Carolina Steel in Greensboro, were
83
among the onlookers when the laminated beams for the upstage ramp were
put into place, and were most complimentary of the design and its
visual and structural strength.
But this ramp, which spanned over forty feet, soon became a weak-
ness in the set. It would easily bear the weight of ten people, with no
noticeable vertical movement, but horizontal sway became a problemv--
one the designer had not foreseen. In order to combat the swaying, it
was necessary to place supports under the ramp, and anchor them to the
stage floor. Two cross-braced 4" x 4" posts were placed at center stage,
and two positioned at a point halfway between center and the stage right
end of the ramp. These supports provided the needed rigidity, but
visually weakened the concept of a spacious openness underneath the ramp.
This was the first in a series of conflicts between practicality and con-
cept, in which the designer yielded to a compromising solution to the
problem.
All other aspects of the set design were executed as planned, with
some minor exceptions. The cutout tree, to be flown in for I, i, and
II, ii, was eliminated. It was considered, by the director, to be an
unnecessary part of those two scenes, and the designer agreed.
The tavern window unit and flown beamwork were built as designed,
but for bracing and support, the window unit required a larger wagon
than was expected to be necessary. Plans called for a castered V x 6'
platfonn, which was replaced by one 3'x8', of the typical design.
This larger wagon necessitated the movement of the stage right asking
legs to a position three feet farther downstage, to allow for shifting,
84
these masking legs, the stage right escape steps were redesigned to run
parallel to the proscenium wall. This narrowed the entrance and was
somewhat inconvenient to the actors, particularly in the tavern scene.
The beamwork for the Guild Hall was built as designed, as was the
bannister railing for the home. The open framework designs for all set
pieces successfully defined specific locales within the set, yet
maintained the feeling of spaciousness in each scene.
Construction of the set took much longer than had been anticipated.
In working with the heavy lumber, crew members were physically unable to
endure for long periods of time. The laminating of the curved beams
required that the glue used in the process be allowed to dry for at least
twelve hours before removing the clamps. This meant that crew calls had
to be at some rather unusual hours, and set back the anticipated comple-
tion time several days. The fault was in the designer's inadequate
planning and lack of foresight.
Use of the set by the director was a disappointment, and the
designer exercised little influence in its use. The vastness of the
playing area was not used to its potential, nor were the many levels
created by the inclined platforms used successfully. The upstage ramp,
the most striking aspect of the set, received minimal use by the director.
On the whole, however, the set worked well in realizing the concept
Of the design, and was, perhaps, the strongest visual element of the pro-
ductlon. It was a successful suggestion of the Elizabethan stage,
visually enhanced the easiness of the characters, and provided interest-
•i ,HantahlP to the various scenes and locales ing playing areas easily adaptable to m
within the script.
85
Properties
All properties were built and used exactly as planned. Furniture
shifting and placement required some rehearsal time prior to the dress
rehearsals, but worked smoothly in the production. Use of fire in the
torches and candles added the touch of realism necessary in the concept,
and extra precautions were taken backstage. Buckets of water, placed in
the wings, were used to extinguish the torches, and fire extinguishers
were placed at each escape exit as an added safety measure.
The stocks were found to be distracting, if left in place through-
out the play, so they were used only for II, 111, and III, ii.
Properties were unobtrusive, did not detract from the production,
and seemed to be a natural and contributing element of the total design.
This blending of properties into the visual whole was achieved, to a
great degree, because all were built for this specific production, and
were, therefore, not in conflict with other design elements.
Costumes
,„ the original design concept, costu.es -ere to reflect not only
tne individual personalities of the characters, but also to amplify the
differences which existed between the rugged, earth, townspeople, and
the more colorful dualities of the players fro. London. In the final
analysis, this was not completely realized.
,„ attempting the contrast, the designer went to too great an
e,trOTe with the players' costumes, and not far enough with those of
the townspeople. The yelours. metallic brocades, velvets, and satins
used in costuming the players -ere too glamorous, and some fabrics
86
used for the townspeople did not adequately suggest the earthiness of
the characters. In many instances, muslin, burlap, monk's cloth, or
some other similar coarse fabric would have worked better than corduroy,
antique silk, or velour.
Will's costume was constructed as designed, seemed to work for the
character, and was an aid to the actor. The designer would substitute
dyed muslin for the gold antique silk shirt in any subsequent production.
The costume for Fulk underwent several changes from the initial
design. It was discovered that for the actor's arm to be concealed for
the one-armed characterization, the costumed needed to fit much more
loosely and appear more bulky than planned. It also needed to be more
tattered and torn, and more streaked with paint than the designer had
originally anticipated. In its final form, it was one of the most
successful costumes in the production. Costumes for other townspeople
would have better defined their poverty and ignorance, had this same
direction been followed more closely for them.
The overtunic of brown vinyl for Richards was replaced with one
of similar design pulled from stock. It was of a rust orange upholstery
fabric, and needed no alteration. The remaining parts of his costume
were built according to the original design.
Anne's costume was completely redesigned after casting. The actress
was too short, and of a complexion and coloring that would have looked
comical in the initially designed costume. The costume was changed to a
long dress of rust wool, laced at the front, with bell-shaped long
sleeves. Accessories to this basic costume were compatible with those
in the original design, and remained unchanged.
87
The sleeveless coat of red paisley was deleted from Kemp's costume.
The designer felt it to be unnecessary to the character, and seemed to
aqe him beyond the boyish, clownlike qualities the costume should have
reflected.
All slashings were eliminated from the costumes. The period hat
was also omitted from the design for Sir Thomas. The designer agreed
with the faculty costume designer, that the hat caused him to look very
much like Henry the Eighth.
The remainder of the costumes were constructed according to the
designs. The use of soft leather boots and canvas shoes worked extremely
well on the platforms of the set. The actors found them easy to work in,
there were no distracting footstep noises, and footing was secure on the
various inclines.
Although there were different opinions regarding the costume
designs for this production, the designer feels that he learned much
from designing for such a large cast. The most important lesson being
that, whenever possible, simplify. The designer also feels that costume
design was not so much his inherent weakness after the production as it
was at the beginning.
Lighting
There .ere some problems in to. lighting. Although instrument
placement was not altered from the original pi.., ™ch experimenting
»,th gel co,or led the designer to dispense with gels altogether on
instants previously gelled with Roscolene colors 811 and 849, and
Cdlors made the lighting more e,en for the general IIMM and the
accent lighting more effective. These changes would have been
unnecessary, had the designer followed the advice of his lighting
instructor and used a multiplicity of colors more cautiously.
Major problems in lighting did not originate with the design
concept so much as with the practical application of the design
immediately prior to, and during the actual production. To smoothly
operate the control panel for this show, a minimum of five people was
required. The production was run with only three crew members at the
panel, and cues were not executed consistently from technical rehearsals
to closing night. The difficulty in running the show stemmed from the
necessary repatching by a crew member who was also needed at the dimmer
controls. Ideally, one person would have been responsible only for the
operation of the patch panel. This was an impossibility, partly because
of the overlap in time of another production on the main stage in the
Taylor Building. The designer should have foreseen the possible shortage
of personnel, and simplified the design accordingly.
One simplification of the initial concept slightly alleviated the
problems. The cyclorama was used only in I, II, II. H. and III. 11.
An actor was used to close a black traveler hung fourteen feet upstage
of the proscenium for all other scenes. This visually closed in those
scenes, but did not conflict with the concept of the overall production.
Although lighting becam* the most frustrating area in the production
to the designer, most cues were executed correctly. The lighting was a
drastic and gratifying experience which blended smoothly with the overall
A «.„ ho stylistically compatible with the visual concept, and proved to be stynsticoujr
setting, costumes, and properties.
89
Conclusion
In retrospectively viewing the production of A Cry of Players as a
whole, the designer was pleased with its visual aspects. The synthesis
of realism, constructivism, and theatrical ism employed in the conception
of the designs, worked well in the final physical form, and the
production was found to have excellent audience appeal and visual impact.
The few mistakes, primarily in lighting, and to a lesser degree
in costuming, were seemingly overshadowed by the overall success of the
design elements. A Cry of Players provided a needed challenge, and was
an essential and practical learning experience for the designer. The
most valuable lesson learned from this experience is, that the designer
must, above all else, be practical, and understand that being practical
frequently means modifying artistic concepts.
90
BIBLIOGRAPHY
Burton, E. J. The British Theatre: Its Repertory and Practice, 1100- 1900. London: Herbert Jenkins, 1960.
Cirlot, J. E. A Dictionary of Symbols. New York: Philosophical Library, 1962.
Corey, Irene. The Mask of Reality. Anchorage, Kentucky: The Anchorage Press, 1968.
Fuchs, Theodore. Stage Lighting. New York: Benjamin Blom, Inc., 1963.
Galloway, David, Ed. The Elizabethan Theatre II. Waterloo, Ontario: Tandem, Inc., 1970.
Gassner, John. Directions in Modern Theatre and Drama. New York: Holt, Rinehart and Winston, Inc., 1967.
Gibson, William. A Cry of Players. New York: Dramatists Play Service, 1968.
Gurr, Andrew. The Shakespearean Stage, 1574-1642. Cambridge: The University Press, 1970.
Nicoll, Allardyce. The Development of the Theatre. New York: Harcourt, Brace, Jovanovich, Inc., 1966.
Quennell, Marjorie. A History of Everyday Things in England. London: B. T. Botsford, Ltd., 1948.
Rosenthal, Jean. The Magic of Light. Boston: Little, Brown and Co., 1972.
Salvadori, Mario. Structure in Architecture. Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1963.
Vevelyan, G. M. Illustrated Social History. London: Longmans, Green and Co., 1951.